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We are excited to announce this joint Autumn Print & Paper Exchange with New England Chapter and Lone Star Chapter of Guild of Book Workers!

Here’s how it works: Each participant will create an edition of no more than 12 prints to send to other participants and +1 to send to LSC Events Coordinator, Jeanne, if you wish to participate in our online exhibit on the chapters’ webpages. After registration closes, you will receive a list with addresses for all your prints to sail-off to and you will receive unique prints made by strangers in return.

+Any method of printmaking or paper or book arts is welcome! Just remember, you must be able to make an edition of the design. Postcards are okay, but please keep in mind that unprotected items may get damaged in the mail.

Deadline to signup is AUGUST 17, 2018. List of participants and addresses will go out by August 24th with entry form and instructions on how to participate in the online exhibit. All prints should be postmarked by September 22.

Please note: you must be a current New England or Lone Star chapter member to participate in this exchange.

Please email Carolyn Frisa at carolyn@works-on-paper.net to reserve your spot and coordinate payment. NECA membership must be up-to-date to register for the workshop.

Description:
How to fasten or secure an artifact has long been a focus of art conservators in all specialties. We have stitched, glued and adhered items for decades, and with each method, the attempt was always to keep the conservation as reversible as possible. The somewhat recent development of strong, permanent, rare earth magnets has enabled them to be used as a reversible fastener. Neodymium rare earth magnets are far stronger than earlier permanent magnets and have only truly entered the market since 1990. They have great potential as a new tool for conservators.

Could there really be a truly reversible tool that would not harm or create holes that we could use? Before these new magnets can be part of our future, a fuller understanding of how they work is needed. Moreover, a system needs to be developed to determine precisely which attributes a magnet should have for a specific project. Discussion will include: What makes a magnet “permanent”, when were they developed, and how magnets differ from one another (i.e. the various types and their unique materials and properties).

The use of magnets in the past has caused damage, slowing their use among some. However, with a full understanding of how a magnetic system is created and can be adapted, damage can be prevented. To demonstrate a magnetic system and its parts, participants will use a “jig” with various combinations of magnets and metal components. They will also explore the different methods of implementing a magnetic system and the strength of commonly available magnets. Time will be allowed for participants to test a range of magnetic systems and materials with small discussions after before the next one.

This hands-on experience can inspire conservators to adapt a magnetic system to mount any specific artifact. The material will be presented in a hands-on instructional format. Handouts will be provided.

Workshop Objectives
1. What are permanent magnets and the four types of magnetic systems
2. Learn the parts of a magnetic system and how they inter-react
3. How to adapt the parts of a system to best suit your artifact
4. How to record the parts of the system
5. Where to place the magnets and the ferromagnetic part
6. How to properly store your magnets

Instructor: Gwen Spicer, Principal of Spicer Art Conservation, LLC
Gwen is a Textile, Upholstery, Paper, and Objects Conservator, and full-time principal of Spicer Art Conservation, LLC, located in upstate New York. She received her Master’s degree from the Art Conservation Program at Buffalo State College, State University of New York. She has over twenty-five years of experience, is a Fellow of AIC, and has been in private practice since 1995. She has assisted many museums, institutions and private collectors with the treatment of artifacts and antiquities for both display and storage. Gwen is an AIC Kress Publication Fellowship recipient and is currently writing her first book, “Magnetic Mounting for Art Conservation and Museums”. The book will be a practical guide for understanding magnetic systems and will assist both conservators and museum professionals in the creation of magnetic mounts.

Limit 20 participants. A list of recommended lodging, restaurants, and thing to do in the Upper Valley Region will be provided following registration. A limited number of free rooms with local conservators may be available.

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Call for entries to UNBOUND Vol VIII, the 8th annual juried exhibit of unique works exploring what a book can be… art using ‘the book’ as a material or format. Presented by ArtisTree Gallery in conjunction with the Bookstock Literary Festival in Woodstock, VT. Open to all 2D, 3D, installation, assemblage, film and video artists who are working in New England or New York.

Join us Friday evening for a tour of the Rauner Special Collections Library followed by a reception with light refreshments. On Saturday, participants are invited to attend two half-day workshops with Bill Hanscom and Sarah Smith. The annual meeting will take place during lunch.

The workshops are limited to 20 participants, but all members are welcome to attend the annual meeting on August 11th. Please register for lunch if you plan to only attend the meeting. Registration will go live on May 4th. Another announcement will go out with the registration link. But mark your calendars!

Saturday, August 11th:

Workshops:

Freestyle Composition – Sarah Smith

In this visit to the Book Arts Workshop at Dartmouth College we’ll make letterpress printed posters/decorative paper. One of our Vandercook presses will be set up with a large wood type word cloud and another Vandercook will be set up with a smattering of relief images from our eclectic collection. We’ll get creative with the layering of prints between the presses and you’ll go home with a bunch of fun papers to work with on your books (or to hang on the wall)!

Blizzard Books – Bill Hanscom

Learn to make three variations of Hedi Kyle’s Blizzard Book: The Blizzard Book, Blizzard Pocket, and Blizzard Boxes. Participants will use a variety of utilitarian and decorative papers to fold up wonderful structures that are part book, part container with lots of potential for artistic experimentation and decorative embellishment. You will also have the opportunity to use rubber stamps and stencils to add some color and excitement to your origami creations.

Many academic, public, and museum libraries contain leather bound books that are stilled used in research. Many of these books have weak hinges or completed detached boards. Leather re-backing is cost prohibitive, especially for books that are heavily used in research. This style of repair was refined as a conservation technique by Don Etherington in the1980’s using Moriki Japanese tissue paper and is a common repair technique used for circulating and special collections books. Book Conservator, Anastasia Weigle of IN A BIND STUDIO will offer an on-day intensive on-hands workshop to members and non-members of Maine Archives and Museums. Participants will learn how treat and consolidate leather, repair detached book boards on hollow-back or flat-back leather bindings, what materials and tools needed for the treatment, how to treat Japanese tissue paper to resemble leather. Tools, materials, and books for practice will be provided. Register online: https://www.mainemuseums.org/event-2889560/Registration